Claude Nougaro and Michel Legrand both met in 1962. Michel Legrand was THE unmissible movie music composer of the 60s, but he is first and foremost the creator of French musical after his collaboration with Jacques Demy.
Jazz inspired both, and they discovered the French New Wave, after what they created the album “Le Cinéma” released in 1962. At the same time, Claude Nougaro was shocked listening for the first time Dave Brubeck’s “Blue Rondo à la Turk” (1959), a creation completely different from usual jazz. In 1966, Claude Nougaro wrote his arrangement and breathless, he said: “I needed to run and by singing this song I realized how much important breathing was for a singer. That’s how I get the idea of put lungs on stage.” And he described a thriller scene. This song has a thunderous beat and flooding words. It deals with the desperate attempt of escape of a crook and pays a tribute to the famous Jean-Luc Godard’s movie starring Jean-Paul Belmondo playing Michel Poicard.
Pierre-Gérard Verny harmonized it, making male voices particularly important because they perform the text with that particular vocal rhythm you should be careful to practice, and perform as a speech, so it would create a better placing. Female voices’ notes are easier and consist in performing counterpoints of the different orchestral punctuation.
(Translated from French)
This sheet music is one of those which were ordered by ACJ of Lyon for the Choeurs en creation project. It was performed by 800 choristers (children and adults) on November 5, 2004 in Halle Tony Garnier, Lyon. Five young composers from Création Musicale XXI association played instruments for Choeurs en creation. They had studied at Conservatoire de Lyon or musicology at Lumière University Lyon 2, then working together with choirmasters who participated to this project, they composed and arranged the specific works for every choir (adults, teenagers or children). All of those works have in common to be based on Olivier Tanguy’s poems (1965-1993). He wrote more than 400 works and many prose texts which were published in “Interventions à haute voix” and “Les cahiers de la poésie” reviews. Jean-Pierre Huguet published a complete version of his works in Saint-Julien-Molin-Molette, Loire. “À la bonté du monde” can be performed in many ways; for example with a homorhytmic chorus performed following the notes written, a canon with two beginnings, a three-choir canon, but also with several voices joining and gathering at fermatas (like they do in pierre Calmelet’s “Alleluia,” ref. ACJ 5088). However, length is not timed, contrary to what Knut Nystedt recommended in “Immortal Bach.” A soloist, a sopranos group, or a children group can hold the beautiful verses. La Cigale in Lyon performed the soloist part for the creation, but it can also be improvised like it’s suggested in the 2nd verse. Régis Harquel was born in 1976 and studied music at École Nationale de Bourgouin-Jallieu. He studied piano, musical training, analyzing, and composing. He learned conducting and studied it at ENM de Villeurbanne, while he studied musicology and learning how to become a professor at Lumière University Lyon 2. He holds a secondary-school teaching diploma and a degree in musical education and choral singing since 2001.
This is a cantata intended for small choirs and great mixed choirs, wind instruments, harps and drums. This is one of the three sections of the trilogy of light. It was an order for the festival Choralies in Vaison-la-Romaine in 2001.
Bruno Gousset was born in 1958. He began to compose at 11. He studied musicology at Sorbonne University and also learned how to play the piano with Florencia Raitzin. Then, he accompanied choirs (Choeur de l’Orchestre in Paris, Cologne, Chapelle Royale, but also Choeurs de Radio-France, the Chorale Franco-Allemande de Paris, etc.) He was a clinician from 1987 to 2000 in Théâtre du Châtelet and assistant in conducting lessons at École Normale de Paris composing at the same time.